The Organ ‘Thing’

Check the  DEMOS page for the debut of the the mighty HK-EVB3 organ.

I went into the recording encounter session unprepared. As you can see in ‘Comparative Organology’, to unembarrass myself, in the credits I coyly dissed my own work. It’s good to be the king. But enough about me. We’re here to praise Dave Limina, who just walked up to the Hyperkeys and grabbed it by the keys.

Sure, the difference between the two variants of Organic Organs and Inorganic Organ is a little contrived. If you didn’t have the power of a Hyperkeys at your fingers – and who does these days, really? – you’d  probably play a little differently. But there’s only so much differently there can be without a ‘keys. Really..

Organ was the original synthesizer, and additive synthesis still has a lot to be said for it. For example, it isn’t fundamentally out of tune when called on to perform full scale musical polyphony. Oh, you can slip some samples past some of the people some of the time, but, as Hot Rod Lincoln said, not all of the people of the time. 

FYI, there’s a lot of micro-ish pitch bending going on in Organic Organ 1, 16 cents of either side of center. You can feel just a few cents if you, you know, trust your feelings, and it’s an important element of how an instrument speaks, in the sense a fiddle or a bass or a horn does.

I find, listening through my OK Sony headphones, that  I don’t like Organic Organ 1 as much as I did in the studio originally. It could just be that JBL has not yet gifted me with those 8-inchers I covet. ARE YOU LISTENING, JBL? So I made a variant, Organic Organ 2, which is everything Organic Organ 1 is except the pitchbend.  Here’s what’s going on in variant (or is that Opus?) 1:


Hyperkeys 3-dimensional musical keyboard Editor by Paul DeRocco, David Mash, & Jeff Tripp (c)2011 by Perfect Fretworks

The OFFSET sets the initial conditions in the 8 EVB3s; DIP has a small amount of volume control (CCs 7 & 115); FORCE (what you call ‘poly pressure’)  has a substantial effect on Leslie speed, per note – of course it takes the traditional Leslie function a while to get up to speed, so this effect is only apparent in lush passages; PUSH makes a major timbral shift, 16 cents of pitchbend, and a sweeping pan; PULL makes an different major timbral shift, 16 cents of pitchbend, and a sweeping pan; PEDAL gives some all-at-once volume control.

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